The suicide of a priest marks the beginning of the end. We have this story seen through the eyes of two sorts of teams with the journalist Peter Bell and Mary, a girl who experienced a vision of the mentioned priest, in one hand and Gerry, a psychiatrist, and Sandra, one of his patients, in the other hand. With these four characters we are going to see a story that begins just with unusual and inexplicable things happening like the broke of a mirror without any logical explanation. But soon the death will be there and the only possible solution, of course, is to go deeper in the case of the priest before it’s too late. If they can’t end with the problem, the death bodies will never rest in peace again.
Though more often than not working on a strict budget and a short time line, Lucio Fulci ranked among the masters of blood-soaked Italian horror/fantasies and sexy thrillers. Fulci’s zombie films, beginning with Zombi 2 (1979), a loose sequel of George Romero’s Dawn of the Dead (1978), are especially prized by genre aficionados for their shocking violence and graphic gore.
According to Fulci, it was the love of a woman, not a passion for cinema, that led him into filmmaking. He met her while studying medicine and working as a part-time art critic. Their affair was brief for she came from a wealthy family who lost their fortune after the war, and so wanted a man with more income. Following the breakup, Fulci spied a newspaper ad announcing the reopening of the Experimental Film Studios. Thinking a filmmaking career might provide him with an impressive income, Fulci decided to apply. The great director Luchino Visconti, impressed by Fulci’s examination, personally admitted the… read more
De las pocas películas que he visto de Lucio Fulci, es la que menos me ha gustado por lo reiterativo de las situaciones y la "solución" del conflicto. Sin embargo, contiene secuencias asquerosas y potentes que la hacen merecedora de un vistazo: Mary resucitando en el ataúd, la cabeza taladrada de Bob, la chica que llora sangre y vomita sus órganos y la tormenta de lombrices.
There's an inherent terror to the film's world, where a would be hero almost slaughters the "damsel in distress" in his rescue, where an innocent is framed and subsequently horrendously murdered. Each and every surface is just that, something banal that conceals menace.
I'm a massive fan of all shades (moods, modes) of Fulci, but on rewatches, I do find this the least compelling of his "Gates of Hell" trilogy. Partially the lack of 2.35:1 cinematography seems, from the start, off. And, generally, the cast and the content/execution of the gore setpieces are much less interesting to me than in the other two parts of the trilogy (which are, let's be clear,
Un grande film horror,come nella migliore tradizione di Fulci. Sconnesso a livello narrativo in stile Lovecraft,con una fotografia sempre nebbiosa che mette angoscia e con scene che colpiscono alla stra-grande:la ragazza che vomita gli organi interni,gli occhi sanguinanti,le picconate alla tomba,i cervelli strappati e la trapanata del ragazzo.Giustamente omaggiato dal grande Quentin nel suo favoloso Kill Bill.3*